• Content Count

  • Joined

  • Last visited

About zdalton13

  • Rank
    Junior Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Thanks, I've already looked at Roger's manual and Tarisio. Roger gives good insight into the techniques of antiquing and Tarisio has some good photos but what I'm really looking for are close-up photos or photos taken at different angles. It is really hard to tell what the nicks and dings actually look like from your standard Strad posters because everything is flattened.
  2. I'm looking for some online reference photos or any that people can provide. This is my first go at this and I'm not trying to copy any specific instrument I'm just looking for ideas.
  3. It does appear to be runout. I was in touch with my tone wood supplier and this is what they had to say about it: "It does look to me like some degree of runout from the photo. Bearclaw can be a bit squirrely however. I am very careful about runout and it is the nemesis of all tonewood producers, but spruce with a good amount of bearclaw can fool me sometimes. My best top should not have detectable runout. If the top is not yet joined and glued together, you can take a thin shaving from the joint edge and the tear it lengthwise. If it tears parallel to the faces than it doesn't have runout AT the joint edge. If the saving tears at an angle this indication of runout. If you have already joined and glued the top, try planing a thin shaving from the face in the same direction on each side of the joint (each wedge half, if you will). If the plane tears the wood and feels resistance one way but not the next - it has runout. Problem areas, especially in bearclaw, can also be localized. From the photo, I appears to me your plane is sharp because of the glisten i see on the smooth cut." They did offer to replace it, however, I'm not really sure how it will look under the varnish. I looked into it and it appears that the verdict is out on runout. Some makers seem to think a little is ok and other think that no amount of runout is acceptable.
  4. That's interesting. It is my understanding that sanding the the wood should be avoided because the sand paper tears open the cells of the wood causing dark spots when varnishing.
  5. I'm working with a relatively light piece of bear claw spruce now and I when planning the wood it appears as what I would call "flaky" or "fuzzy". In planning one direction the shavings resemble a lacy structure and in the other direction there is a good bit of tearout and loose fibers. All other spruce I've worked with so far has planned very smooth so this seemed a little unusual to me. I like to hear what others can say about this. I've attached some photos for reference.
  6. Is it necessary for the total thickness of the instrument to be 62mm? Surely some high arched instruments are thicker.
  7. My 15mm was totally arbitrary. I'm working on a violin now with a plate top plate height of roughly 19.5mm. I didn't realize how high it was until I did some googling which is why I asked where my reference point should be. Compared to the arching on my cheap student model it looks fine. I'm curious now what qualities I should expect from an arch so high and as to whether I should adjust the arching of the back plate. As the unhollowed back plate stands now it is rough 17.5mm.
  8. So, what then should I expect from a violin with a top arch of 20mm?
  9. I've read from some people that the arch height should include that plate thickness, so that an arch height of 15mm would be the total height of the plate. And I've also read that the arch height should be measured from the lowest point of the arching to the highest point, so that the fluting on the plate acts to raise the arch height. What way is the standard method of measuring a violin's arching?
  10. I've got enough pieces of extra rib material to make a violin. Mike, that's what I was thinking. In fact, I've got a piece just long enough to do the lower bout.
  11. Sorry, I should choose my words more carefully I just meant using ribs cut from different logs for one instrument.
  12. I have not put tool to wood yet. I'm just planning it out and getting all my ducks in a row. I had planned on using the stop length that is listed on the poster of 194mm. I guess I'm just overthinking this.
  13. Well, a google search failed to yield anything. Could you elaborate?